"..the field of music I work in where apprenticeship never ends."
Dick Gaughan
This 2 piece compilation album is the 12th solo album from renowned Scottish traditional singer and contemporary songwriter Dick Gaughan. He's also played on compilations and with Boys Of the Lough, 5 Hand Reel, and Clan Alba. GMR has reviewed only one of these CDs, the 2001 Outlaws and Dreamers, likely because most of his albums long predated our publication. It is the only "best-of collection" of Gaughan's music available, in part because, as Gaughan puts it, "I rarely ever listen to things I've recorded in the past." The other reason is that, as with the work of Nic Jones and the late Tony Rose, some of Gaughan's earlier recordings are locked in the vaults of weird recording legalities. Tracks here come from Topic, Wundertute/Folk Freak, and Appleseed. Fortunately a few of his good tracks were re-recorded on these labels.
Dick Gaughan has an ideal voice, a great Scottish accent and he plays guitar well enough to have been a studio musician on many recordings, but the spark that has really lit his career is his political activism and socialist outlook. Most of his recordings have contained a mix of traditional music and contemporary pieces, many of the latter written by either Gaughan or by someone else with considerable fire. This is the mix found on Prentice Piece. The tune that really stands out is his own classic song for unity on "Both Sides Of the Tweed," his voice perfect to carry the slow, rich melody:
"Let the love of our land's sacred rights
To the love of our people succeed
Let friendship and honour unite
And flourish on both sides of the Tweed..."
Outstanding traditional songs include the slow tracks, "The Wind That Shakes the Barley," with expert contemporary guitar, "The Auchengeich Disaster" with Alasdair Anderson on concertina, and "The Floors Of the Forest" with Andy Irvine's hurdy gurdy imitating pipes, as well as loud electric guitar from Gaughan. In fact, all the traditional tracks are good, because all Gaughan has to do is open his mouth and his wonderful voice brings life to a song that has stood the test of time. A 1978 "cover" of Ed Pickford's mine union song, "Pound A Week Rise" is also good, strident in its support of workers rights and its distrust of the government.
In 1983, Gaughan increased his emphasis on song writing. Because his vocal style and accompaniment for his original compositions have often been contemporary, the reaction from fans of traditional music has been mixed. On the other hand, Gaughan has had a better platform from which to speak about his political beliefs. Gaughan has also included two songs by Brian McNeil written in the historical ballad tradition: "Muir and the Master Builder" and "The Yew Tree." These work well, though a chimey keyboard swings the latter song towards pop. Many of Gaughan's own compositions, however, escape my remembrance even after repeated plays and probably will appeal more to contemporary folk and singer-songwriter enthusiasts. Exceptions are "Both Sides Of the Tweed" and his 1996 composition "Sail On":
"Sail on, Sail on
The hour of sorrow is the herald
Of the hour of hope that is the dawn."
Unfortunately these seem to always be the words most appropriate for our times.
Also included in the album are two enjoyable guitar tunes. Prentice Piece is a good introduction to Dick Gaughan from his own hands, but like many compilations, it is useless if you have the original albums. In this case owners of the original albums may appreciate the song-by-song annotations in the excellent liner notes, but the album does not include any new material or bonus tracks. Unfortunately, what is not included here is material from albums that are harder to obtain. I missed "Which Side Are You On," "Victor Jara Of Chile," and all that great Scottish rock from 5 Hand Reel.
Among other things, you can read about Dick Gaughan's negative view of a commercialized Internet on the Web site he designs and maintains himself!
